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New Techniques in Industrial Design Education

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New Techniques in Industrial Design Education New Techniques in Industrial Design Education Jon Kolko [ [email protected] ] Professor, Industrial and Interaction Design Savannah College of Art and Design Savannah, Georgia, USA Abstract This paper presents three new techniques utilized in educating Industrial Design students, with a focus on collaboration, complex problem solving and user-centered contextual design. The first technique, in the form of a “total immersion” charrette, has proven to be an effective means of peer-learning, rapidly disseminating information from senior to lower level students. Additionally, this technique has been utilized to build both management and leadership skills, as well as introduce students to various “niche” aspects of Industrial Design. The second technique, large-scale product development and fabrication, has proven instrumental in developing interdisciplinary team building, as well as illustrating the precision and level of detail required to successfully fulfil real-world project expectations. Finally, the third technique demonstrates the importance of industry-sponsored design projects as a means for strategic and innovative product development. Introduction Industrial Design education has traditionally been defined by craft; while leading programs have evolved to include aspects of complex problem solving and business planning, much of the academic Industrial Design community continues to reference and embrace Bauhaus style studio courses centered around individual, hands-on product development. While the industrialized world is shaped by dynamic change, design education seems reluctant to move beyond basic aesthetics and “form giving”. Rather than focusing on business development and user-centered design process, emphasis in much of academia is placed on rendering, model making or styling, yet industry now demands Industrial Designers participate in strategic planning, innovative product development, and interdisciplinary collaboration. Both qualitative and quantitative evaluation metrics are used to determine the value and success of the techniques, and recommendations are made for the appropriate implementation of such techniques in other similar educational programs. Traditional Industrial Design Education Industrial Design is the “professional service of creating and developing concepts and specifications that optimize the function, value and appearance of products and systems for the mutual benefit of both user and manufacturer” [1]; since the industrial revolution, consumers have enjoyed the benefits of products that save time, accentuate our personalities and increase our physiological well being. However, much of the work of Industrial Designers has focused on form, function, and some sort of marriage between the two; design education commonly contains courses encouraging exploration of weight, structure, composition, size, shape and material. These courses have grown out of curriculum established by the Bauhaus and subsequently refined by the New Bauhaus; the classes reference both the content and structure of the preliminary courses and workshops of these unique schools. The goal of the original Bauhaus was to “educate artists, painters, and sculptors of all levels, according to their capabilities, to become competent craftsmen or independent creative artists…” [5]. The curriculum focused on a three tiered method of education, and although it included aspects of drawing and painting and training in science and theory, the program initially focused primarily on aspects of craft training. Industrial Design Education continues to build upon the principles developed by the Bauhaus; foundations programs at the Rhode Island School of Design (USA), Pratt Institute (USA), and the Savannah College of Art and Design (USA) all implicitly reference the preliminary course developed at the Bauhaus. Rowena Reed Kostellow’s “Elements of Design” provides clarity into what has become the cornerstone for Pratt Institute’s foundations program, focusing on line, plane, volume, value, texture and color. “This curriculum has become the foundation of most industrial design education programs, and also applies across the board to architecture, graphic design, and art. From the beginning and for over 50 years, Miss Reed taught three- dimensional design at Pratt” [6]. Time for a Change? The craft of Industrial Design continues to demand a strong understanding of form, aesthetics and emotion, yet the business of Industrial Design has changed dramatically since the days of the Bauhaus. Time to market and product development cycles continue to diminish as advances in manufacturing increase speed of production. For example, Konica recently announced their new DiMAGE Z3 Digital Camera less than six months after announcing their DiMAGE Z2 [3], and this trend is visible throughout almost the entire consumer electronics segment. The outsourcing of design and manufacturing depends on cheaper labor in Pacific Rim countries, commoditizing many of the design skills that have traditionally been unique to those with a formal Industrial Design education. Even the field of furniture, the origin of Industrial Design that has always upheld the notion of artisan craftsman, has felt the shift as Malaysian manufacturers sense the need to offer both cheap manufacturing and cheap design to compete with American products: At the recent Malaysian Timber Council, key speakers presented papers with names like How Malaysia can Compete in the US Furniture Market [4], indicating an internal awareness of this shift towards offshore design. These issues, when examined alongside the political and cultural changes that have occurred with the coming of the information age, illustrate a strong confounding of Industrial Design in the professional world – the field has become much more complicated, and issues relating to product form and function are dwarfed by topics of internationalization, convergence and time to market. The professional world of product design has shifted dramatically, and demands new skills of graduating students of Industrial Design. The Savannah College of Art and Design, in Savannah, Georgia, employs traditional Industrial Design teaching methodologies to teach traditional Industrial Design skills. Additionally, the program complements these more conventional methods of education, such as those employed by Bauhaus educators, with new techniques that attempt to target the specific and changing demands of industry. Industrial Design “Total Immersion” Charrette For the past three years, industrial designers at the Savannah College of Art and Design (SCAD) have participated in the annual Industrial Design Charrette. This three-day, moderated event brings together industrial design students from several colleges and universities to work on a project in a collaborative environment. The 2003 Charrette, moderated by Patricia Moore, encompassed experiential and contextual learning. Over three hundred and fifty students participated in this event, divided into 43 teams of approximately 8 students per team. The teams were mixed in terms of academic class standing and school of attendance (students from Georgia Tech and Auburn University also attended). At the opening of the Industrial Design Charrette, students are given an opportunity statement, and instructed to immerse themselves in that domain. Previous subjects have involved emergency rescue and response, emotional reactions to language, and universal design in the home; all of these topics demand that the students delve outside of their traditional knowledge base, or “comfort zone”, and research real people in their real context. Additionally, the opportunity statement is kept vague enough as to allow for and encourage diverse viewpoints as to potential solutions. Students quickly realize that the answer to the problem will not be found in their studio spaces, and within hours of receiving the target domain and opportunity statement, teams begin leaving the Industrial Design facility and entering the “real world” to uncover the nuances of the problem. After collecting a substantial quantity of contextual data articulating problems and breakdowns relating to the target domain, students then retreat back to the studio to synthesize the often overwhelming quantities of data. Using whiteboards, post-it notes, and other visual organization tools, teams begin to address specific problems motivated by research, and begin the iterative nature of industrial design. Ultimately, time becomes the major obstacle, as teams race the clock to finish before the final presentations begin – not more than seventy-two hours after the event began. The Charrette is structured in the form of a rapid product development cycle, integrating user centered research, rapid visualization sketching, the creation of physical forms, and the presentation of these materials to clients. These skills mimic those described above – relics from the “simpler” days of product design. Yet the true goal of this activity, both implicit in its structure and explicit in its direction, is the creation of relationships that encourage peer learning and cross over the rigid “class structure” of freshman, sophomores, juniors and seniors. As illustrated in Peer Learning in Higher Education: Learning From & With Each Other, David Boud recognizes that “…learning with and from each other is a necessary and important aspect of all courses. The role it plays varies widely and the forms it takes are very diverse, but without it students gain an impoverished education”
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